an insiders guide to leathercrafting

8/10/2019 An Insiders Guide to Leathercrafting

1/24


2/24


3/24

Chapter 1 Introduction to Leather 1

C HAPTER O NE

Introduction to Leather

A History o Leather

Since the dawn o time, leather has played a vital role in the development o civilization. In its variousormats, leather and animal hides have provided or one o the most basic human needs - protection. Fromanimal hides, man has crafed ootwear, clothing, belts, containers, weapons, transportation devices, andeven armor. In the early days o leather usage, un ortunately, animal skins would rot when lef wet or inhigher temperatures, and i they were allowed to dry or stored at lower temperatures, they would lose theirability to ex and have limited use. For this reason, attempts to produce leather that was stronger and moreexible eventually began. Whether by accident or by trial and error, man discovered methods o sofening

and preserving leather by treating animal skins with natural resources. Variations o this process, known astanning, have been used to produce better quality material throughout history.

Te anning Process

While historic methods o sofening and preserving leather utilize such naturally occurring materials as smoke,animal viscera, and vegetable solutions, modern day tanning and hide processing is chemically controlledthroughout the United States and Europe, regardless o the type o chemicals or ingredients used in thetanning process.

anning is the process o combining a substance called annin with the hide bers, allowing the resultingleather to be dried, yet remain exible. Te chemistry o tanning is very complex, and the process was actually

discovered by accident and rened through trial and error over thousands o years.Tere are two main types o tanning - vegetable tanning and chrome tanning. Tough Vegetable anning isperhaps the oldest method o tanning, using tannins rom organic matter such as tree bark, leaves, and nuts,it is now a specialty type o tanning. In years past, it could take up to a year or each individual hide to beprocessed, but modern vegetable tanning takes between one and three months. Chrome anning uses metalchromium rather than organic tannins and, as a result, it takes ar less time. It is also less expensive to produceleather in this way.

Te tanning process begins when the hide is removed rom the animal, as it is salted as soon as possible. Itmust remain salted, cool, and moist during the initial curing period, which can last up to six months. Duringthis curing period, approximately 15% o the weight is lost as water drains rom the hide. At the tannery, the

hide is tumbled in a solution o hydrated lime and water to remove the hair. Next, the hide is tumbled in anacid solution o approximately 5 on the pH scale.

Afer tanning, some leathers are tumbled in a dye bath to produce a desired color. I not, the hide is taken to adrying room, a ventilated area where the hide is stretched, tacked to panels and hung until dry. Once the hidehas dried, it is run through a Skiving Machine , which trims off bumps and blemishes in an effort to achievethe maximum uni orm thickness throughout the hide. Te nal step in the leather-making process is re erredto as currying or Slicking , and it is done to create a smooth nish.


4/24

2 Chapter 1 Introduction to Leather

Overview o ypes o Leather

Tere are a number o leather types, but some o the most common include tooling, skirting, latigo, lace,garment, upholstery, harness, English bridle, rawhide, chrome splits, suede splits, shearling, and exotics.

ooling is a type o leather that can be carved and may be used or carving, stamping, moulding, dyeingand oiling. ooling will readily and evenly accept dyes and dries to a rm, long-lasting shape. Tis type oleather is ideal or almost any use, including ootwear, strap goods such as belts and tack, brie cases, holsters,and sheaths.

Skirting is ideal or saddle panels, shoe soles, and other heavy work. Skirting leather products can also betooled and carved. Skirting moulds and orms to the seat, and readily accepts oils and dyes evenly, leading toa very uni orm appearance.

Ofen ound together are Latigo and Lace leathers. Latigo is sof and supple, and lace is rm and does notstretch, which has lead to the use o both in products which require strength and exibility. Latigo and lace can

be ound in such items as cinch straps, braided reins, and other laces ound on a saddle. Tese leathers are alsoound in the laces o baseball gloves, tool pouches, and moccasins as well, and are even used or pet products.

Garment leather is primarily used to make clothing and accessories, such as chaps, vests, handbags, andootwear. Tis type o leather is sof and supple, and it is available in an array o consistent colors. It may havecome rom the hide o any number o animals, including cows, goats, deer, and sheep.

Upholstery leather is used in urniture and seat covers. Tis sof, supple leather is strong and durable. It istanned in whole hides, allowing or very little waste and or use in automotive and restoration upholsterywhere large pieces o leather are necessary.

Harness leather is used to make tack and supplies or both the equine and pet industries, including work,show, or sa ety harnesses. It may also be used to make military leather strap goods. Harness leather is heavywith tallows, providing exceptional weight, thickness, ease o cutting and durability. English Bridle leatheris also used to make supplies or use on horses and dogs, such as leashes and harnesses, and may be used inmaking ner strap goods.

Rawhide is a strong, rm untanned cattle hide used to cover and repair saddle trees and covered stirrups. Itis also used in snow shoes, drum heads, Native American relics, and other decorative work. Shearling is abeauti ul quality sheepskin which is available in a variety o thicknesses. Saddle lining, pads, and covers, as wellas some garments, may be made rom 3/4" shearling, while the 1/2" option may be used or holster and caselinings, as well as some garments.

Chrome Splits are leathers used to make chaps, aprons, and tool pouches, while Suede Splits are leathersused to make garments, chaps, moccasins, handbags, and pouches. Finally, Specialty & Exotic leathers,including kangaroo, deer skin, snake, alligator, among others, may be used to make ootwear, handbags, anddecorative work.


5/24

Chapter 1 Introduction to Leather 3

Leather Grades

Each leather hide is unique to the animal rom which it came. For this reason, each individual hide hasdifferent natural scars and blemishes, in addition to its unique shape, size, and coloring. Such blemishes and

scars are considered de ects, and these de ects are what determine the Grade o a side o leather.A Grade leather allows or 1 or 2 de ects in the prime areas and 3 to 4 de ects in the non-prime areas. B Grade leather allows or 3 to 4 de ects in the prime areas, as well as 6" to 12" o damage or waste and some small holesin the non-prime areas o the hide. C Grade allows or more than 12" o damage or waste and color variation.Utility Grade may have up to 15-20% area o de ects including cuts, blemishes and holes.

annery Run is a standard method o selling leather which includes a combination o 20% A grade, 50% Bgrade, 30% C grade, and 10% utility grade. Remember that the grade o a side o leather will only have an effecton your yield and waste actor. It will not affect the quality o your leather in any way.

A Grade Allows or 1 or 2 de ects in the prime areasand 3 to 4 de ects in the non-prime areas

B GradeAllows or 3 to 4 de ects in the prime areas, aswell as 6" to 12" o damage or waste and somesmall holes in the non-prime areas

C Grade Allows or more than 12" o damage or wasteand color variation

Utility Grade May have up to 15-20% area o de ectsincluding cuts, blemishes and holes

R Grade Combination o 20% A grade, 50% B grade,30% C grade, and 10% utility grade


6/24

4 Chapter 2 Choosing the Right Leather

C HAPTER T WO

Choosing the Right Leather or Your Project

When aced with a leathercrafing project, choosing the right hide o leather may eel overwhelming. Inorder to avoid wasting quality leather, there are a series o ten questions to consider be ore choosing a hide oryour project.

First, it is important to have an Ideal Finished Product in mind. Who will be using this product? Whatshould it look like? Simply taking the time to consider the purpose o your product can aid in making thebest leather decision. Next, determine the ideal Strength and Stretch olerance your leather product shouldhave. I strength is necessary, a ull-thickness leather, such as skirting or harness, is best. Unsplit latigo andbridle leathers are another possibility. Unsplit leathers are stronger, as the bers are unharmed by the

splitting process.A third question to consider is what echniques you will use on the leather. Will you need to tool, stamp,curve, or carve the leather or your project? I so, a dry leather, such as skirting or bridle leather, is best. Next,consider the Ideal Finish your leather should have. I you will be tooling or stamping, you will also need tonish the leather yoursel . I not, you will need to consider the types o nishes a tannery may apply in orderto produce a consistent product.

Will your product be used Indoors or Outdoors ? Products used outdoors, where they will be exposed topotentially harsh conditions such as extreme heat or pouring rain, benet rom the use o a hot-stuffed leather,such as harness, latigo, or English bridle. I you plan to tool or stamp a dry leather, such as skirting, there area variety o oils, dyes, and dressings to consider or protection and to prevent drying out or cracking.

Another actor in choosing your leather is determining Te Cost o Your Product . How much money will youcharge or your product? Knowing this helps to determine how much you can afford to spend on the leatherwhile still making a prot. Using the best possible cut and grade o leather allows you to give customers bothquality and value, while you prot rom the sale.

Next, consider the Yield o the hide compared to how much leather you need. Knowing which cut o leatheris best or your project is very important, as different cuts yield different quantities. For this reason, you mustalso know the Size o your product in advance, as well as the total number o individual items you wish tomake, prior to choosing a hide. Similarly, it is important to determine How Much Leather will be necessary tocomplete your product or products. Knowing this in ormation in advance may allow you to take advantage oquantity leather pricing, as well as reduce your overall cost and make the most possible use o each hide.

Finally, it is important to know whether the product you wish to make can be Duplicated and improvedupon. A customer should know exactly what to expect rom you and your product, so it is vital to make themaware o what you can and cannot do. Additionally, you should ask yoursel whether you wish to create aone-o -a-kind Custom product or a Mass-Produced product. I you plan to produce more than one o yourproduct, you may nd that it is much less expensive to buy larger quantities o leather. Doing so allows you toproduce more o an item rom each hide, as well as use any remaining pieces rom a hide in later productions.


7/24

Chapter 2 Choosing the Right Leather 5

An Overview o Leather Ticknesses

One ounce o leather is equal to 1/64" in thickness, but hides rarely measure to the exact 1/64" throughout, asthere are always slight variations in thickness. Hides run through a splitting machine are more consistent, but

still not per ect. It is best to remember that the more ounces there are, the heavier the leather will be. Te chartbelow provides basic leather conversions and the uses o each size.

Ounces Irons Fractional Inches Decimal Inches Millimeters Application

1 oz. 0.75 1/64" 0.016 0.41 mm Linings, Shoes, Boots, Pouches, Purses,Gussets, and Garments

2 oz. 1.50 1/32" 0.031 0.78 mm

3 oz. 2.25 3/64" 0.047 1.19 mm

4 oz. 3.00 1/16" 0.063 1.6 mm Purses, Shoes, Boots, Pouches, Aprons,

Chaps, and Kni e Sheaths5 oz. 3.75 5/64" 0.078 1.98 mm

6 oz. 4.50 3/32" 0.094 2.39 mm

7 oz. 5.25 7/64" 0.109 2.78 mm

8 oz. 6.00 1/8" 0.125 3.18 mm Belts, Saddlebags, Bridles, Halters, DogCollars, Straps, Scabbards, Holsters,Sheaths, ool Pouches, Slings9 oz. 6.75 9/64" 0.141 3.58 mm

10 oz. 7.50 5/32" 0.156 3.96 mm Heavy Belts and Strap Goods, Gun Belts,Stirrup Straps, Cattle Halters, Heavy Horse

Halters, and Leads11 oz. 8.25 11/64" 0.172 4.37 mm12 oz. 9.00 3/16" 0.188 4.78 mm

13 oz. 9.75 13/64" 0.203 5.17 mm

14 oz. 10.50 7/32" 0.219 5.57 mm Sa ety Belts*, Harnesses, Stirrup Straps,Saddle Skirting, Soles and Heels, Gunbelts,Machine Belting15 oz. 11.25 15/64" 0.234 5.95 mm

16 oz. 12 1/4" 0.250 6.36 mm Sa ety Harnesses*, Work Harnesses*,Saddle Skirting, Soles and Heels

* Always remember that leather is a natural material thats not intended or use on products that carrya high liability or certication o tensile strength. On occasion, leather bers can become weak withoutany visible signs o wear. Fall arrest or sa ety equipment should never be made with leather constructingthe strength member. More consistent materials like heavy-duty webbing should be used or strengthmember construction.


8/24

6 Chapter 3 Getting to Know a Leather Side

C HAPTER T HREE

Getting to Know a Leather Side

Be ore you begin any leather project, it is important to understand the different parts o a side o leather andthe benets each o these parts can provide. Tere are our main parts in a leather side - the bend, the back,the neck and middle, and the belly.

Te Bend is the thickest and rmest part o a hide. At its ull thickness, it is between two and our ouncesthicker than the rest o the hide. It is best to use the bend in products which require minimum stretch,rmness, and durability. Te bers o the bend are thicker and more prone to cracking, so it is benecialto temper this piece o leather in warm water be ore bending.

Te Back consists o the bend, the neck, and the middle. It is a very good quality piece o leather and is the bestpurchase or items that require length and durability along with very limited waste. Reins, leashes, and stirrupleathers, or example, would be crafed rom back leather.

Tough the Neck and Middle are good quality leather, they tend to have more blemishes. Te neck specicallymay have more natural blemishes rom the animal, such as barbed wire scratches and natural at wrinkles.anners do try to smooth out wrinkles, but they may remain visible, depending on the age o the animal. Teneck and middle are able to stretch without tearing. Tis is called tensile strength, and the middle sometimeshas more o it than the bend. Te middle may be used or the same types o products as the bend, includingproducts requiring more length.

Te bers o the Belly are sofer and looser than those in other parts o the side. Tough it is ofen consideredthe waste section o the side, it can be very use ul in a number o ways. For example, i it is sewn to the backo another piece o leather, it provides com ort and has all the strength o the piece it is sewn to. It is ofen usedto make liners, browbands, breast collars, and loops.


9/24

Chapter 4 Cutting and Costing Your Leather 7

C HAPTER F OUR

Cutting and Costing Your Leather

Cutting Hides to Achieve the Best Yield

o cut belts rom a double back, i there is a brand or blemish, you will rst need to straight edge the benddown the middle and cut it in hal with a round kni e. Ten, you may cut right through the brand, as thebranded pieces may be used as belts or children. Additional pieces can be used or keepers, greatly minimizingyour waste. I the double bend is long enough, you may be able to cut several straps along the backbone as well,urther minimizing waste.

Efficiently Cutting Around BlemishesBlemishes such as scars or butcher cuts do not need to increase the amount o waste rom your side o leather.You will simply need to cut around, or sometimes through, these de ects in order to increase the yield rom aside o leather. When cutting strap goods, or example, i the butcher cut or blemish is on the underside o theleather, you may simply turn the leather over and mark the cut on the topside. You may need to straight edgethe top. o do so, lay the straight edge along the top o the hide, mark it and cut along the line with a drawgauge or round kni e. Cut the straps as close to the de ect as possible in order to minimize waste. Anotheroption is to mark and cut your straight edge through the butcher cut. Tis method is use ul i the blemish isparallel to the straps you will be cutting. Once the strap or rein is edged, the blemish will no longer be visible.

Clicking Out Leather Pieces to Best Utilize Hide

Afer you have cut all necessary straps, you are able to click products rom the bottom part o the hide,including the belly. Te urther down the belly you go, the sofer the leather becomes, so i rmer or single-plyleather parts are necessary, it is best to click them rom the top area. Te center o the belly can be used or topson double and stitched products. Sofer areas, such as the pockets, are use ul as liners. Leg pieces are ideal touse or a variety o small items, including coasters, key obs, curb straps, and spur straps.

Belt Basics

When using a double back to make belts, it can be cut in a variety o ways which minimize your waste. Forexample, you may wish to begin by using only one hal o the side, cutting belts vertically to your desiredlength and utilizing the neck pieces as well. Ten, you may cut the second hal o the side horizontally or the

rest o your belts. Alternatively, you may cut the rst hal horizontally until the second hal is the desired lengthor your belts and then cut the second hal vertically to make the rest o the belts. Finally, you may cut theentire double back vertically or horizontally.


10/24

8 Chapter 4 Cutting and Costing Your Leather

Yield o Leather Straps rom an Average Side

Youll want to always keep your waste to a minimum to make your items as economical as possible. For yourre erence, a 15% waste is the industry standard. You calculate the percentage o waste as you would any otherpercentage. For example, i you begin with a 30 pound hide and you manage to utilize all but 4-1/2 pounds,you have a 15% waste.

Strap WidthSides

(based on 35" width)Backs

(based on 26" width)Double Shoulders

(based on 25" width)Double Backs

(based on 52" width)1/4" 138 102 98 2041/2" 68 50 48 1003/4" 44 33 31 661" 33 24 23 48

1-1/4" 26 19 18 381-1/2" 21 15 14 301-3/4" 18 13 12 26

2" 15 12 11 24

Costing Your Finished Product

When you manu acture leather products, it is very important to know your true cost. Tis may be difficult iyou buy your leather in different units o measure. o determine your true costs, rst convert all o your leathercosts to square oot costs. At Weaver Leather, leather priced per piece is sold by the hide, the side, or the cut;leather that is priced per square oot is accurately measured by a machine at the tannery and the square ootageo each piece is stamped on it; and leather priced per pound is weighed when it is shipped rom the warehouse.

Calculate the Leather Cost , remembering to include your waste actor as well. I the leather is priced by thepound, multiply the cost per pound by the average weight o the side to get the cost per side, then add inyour reight and waste costs. I the leather is priced by the square oot, simply remember to add the reightand waste actor costs to get your true cost. Te industry standard or a waste actor is 15%, but remember tocalculate your own percentage o waste based on the number o products you manu acture.

Te next step is to determine the Average Size o your side o leather in square eet. Te industry standardis 22 square eet per side or a heavy native (unbranded) steer side. Other cuts may vary, o course, so makesure to adjust your average or your unique piece o leather. o determine your specic number o square eet,multiply the width o the side by length o the side. Assuming your side and waste actor are average, only 85%or the leather side, or 18.7 square eet, will be useable. You are now able to determine your true cost. I yourleather and reight cost is $105, or example, and your waste is average, you would divide your 18.7 square eeto usable leather into the leather cost o $105 to nd your true cost o $5.61 per square eet.


11/24

Chapter 4 Cutting and Costing Your Leather 9

I you make straps that are 1-1/4" wide and 72" long, your strap is 90 square inches. o convert square inches tosquare eet, divide the 90 square inches by 144 (12" x 12" = 144" inches in a square oot) which will giveyou a total o .625 square eet used. At $5.61 per square oot, you will nd that your strap has cost you$3.51 to make. Finally, add the costs o all the hardware, thread, oils, and labor to get the total cost oyour item.

Five Steps to Leather Costing

Step 1: Calculate the Leather Cost ............... $100

Step 2: Add Freight Cost ............................... $5

Step 3: Subtotal ............................................... $105

Step 4: Average Feet Per Side ........................ 8.7 Usable Square Feet

Step 5: rue Cost ............................................ $5.61 per Square Foot


12/24

10 Chapter 5 Overview o ypes o Projects

C HAPTER F IVE

Overview o ypes o Projects

Tere are a number o different products a person can create using leather, including everything rom tackand strap goods to personal accessories, holsters, and even apparel. It is use ul to make a permanent pattern,especially i you wish to produce a number o the same item. Tere are an innite number o items a personmight create using leather. Jackets, pants, and vests are common articles o clothing which can be crafed usingleather, and moccasins, belts, and handbags are among some o the most common leather accessories. Onemight even have need o a pair o leather chaps or a leather hat.

In addition to clothing and accessories, many items used in everyday li e can be made rom leather, includingwallets, checkbook covers, and even book jackets. Key obs are relatively easy items to make, especially when

using die cuts, so they are able to be produced in larger quantities. Gun holsters, kni e sheaths, rie scabbards,tool holders, and luggage may also be made rom leather. ack and other strap goods are almost exclusivelymade rom leather. Saddles, bridles, halters, leads, and harnesses are among the most common tack used in theequine, livestock, and even pet industries.


13/24

Chapter 6 Overview o ools 11

C HAPTER S IX

Overview o ools

Tere are an innite number o tools available or working with leather. Some o the most basic leatherworkingtools include the round kni e, the draw gauge, hammers and mallets, shears and scissors, edgers, creasers,slickers, awls, the cutting block, punches, and stamping tools.

Te Cutting Block is, o course, the sur ace upon which leather is cut. On the cutting block, one uses a RoundKni e , or head kni e, to cut leather. Te round kni e consists o a rounded blade attached to a handle, and it ispushed through a side o leather in order to make large cuts. Shears and Scissors can also be used to cut theleather, as well as other difficult materials. Te Awl is another pointed instrument used or piercing small holesinto the leather.

Te Draw Gauge is used to cut straps, usually o 4" wide or less. Hone the blade o the draw gauge on the sidenearest the guide, as this will help to pull the blade out into the material and also push the strap against theguide. It is very important to keep the draw gauge sharpened in order to limit leather waste.

Te Hammer can be used, o course, to drive tacks and other attachments into the leather. Te Mallet is usedwith some Punches to drive holes into the leather, as well as with Stamping ools, which drive designs, letters,and images into the leather. It may also be used anywhere that a cushioned blow to the leather is necessary.

In addition to hand tools, there are several machines which can aid in leathercrafing. A Slicker , which is maderom dense, close grained wood, is used to smooth the edges o leather strap goods, giving them ahand-rubbed look. An Edge Painter , as the name implies, is designed to urther assist in nishing the edges oa leather item by painting them with special edge paint. A Creaser is yet another machine designed to providea more nished look by adding creases along the edges o leather straps.


14/24

12 Chapter 7 Basics o Working with Leather

C HAPTER S EVEN

Basics o Working with Leather

Pattern Making

Be ore you begin working with or even cutting your side o leather, make a Permanent Pattern . It is best todo so using heavy paper or, or some items, 1/8" berboard. Tere are varying ways to make different typeso patterns, so this process is largely based on your specic product and what it requires. For some patterns,such as those or holsters, simply tracing the item you wish to contain is an excellent starting point.

For any pattern, basic geometry and precise measurements are essential. A Compass should be used orspacing, as well as creating square and round corners in a pattern. Additionally, using Simple Curves canhelp to simpli y sewing. Allow extra space along all edges and seams, and i there are identical halves inyour pattern, be certain to cut them exactly alike. I you are unsure about where to begin with a pattern orsomething, it can be immensely educational or you to nd an old version o the item you wish to make andtake it apart.

Cutting

In leathercrafing, understanding how best to cut a side or your specic project is essential in avoiding wasteand keeping your costs down. Be ore you begin, know the measurements o your products and take them allinto account as you plan cuts in order to maximize yield. Remember that each hide is different and will requirea different plan. Finally, be ore you cut your side o leather, remember to check both the grain and the eshsides o the leather thoroughly , as nothing is more waste ul than catching a de ect afer the hide has been cut.

It is always important, whether youre cutting straps or belts, reins, or other miscellaneous projects, to cutstraps that are uni orm, straight and precise. Tis can be done with a draw gauge or a strap cutter. Te drawgauge is used to cut straps by hand, but i you wish to produce large quantities o a strap, a Strap Cutter isessential. Experts suggest that, when using a strap cutter, it is best to keep the rst kni e as close to the edgeo the leather as possible without alling off in order to minimize waste.

In addition to the draw gauge and strap cutting, one may choose to Die Cut products. Die cutting is use ul iyou need to cut leather in a pattern o shapes rather than in straight straps. It is quick, efficient, and precise,and it minimizes waste because the die and patterns can be turned and nested into each other.

Stitching

Some leathercrafing projects may be Hand-Stitched , and in such cases, the angle o the hole you cut into theleather or the purpose o stitching has an effect on the appearance o the stitching. Tere are several sewingmachines commercially available to stitch heavy leather work. With some machines, it may be critical that theNeedle Stroke and Stitch Length be adjusted. It is always important to match your Needle Size and TreadSize, as your nished product will have a much better appearance and youll have less rayed thread, threadbreakage and skipped stitches.


15/24

Chapter 7 Basics o Working with Leather 13

Additionally, the tightness o the stitch will make your product stronger and longer-lasting. Using a needle thatis too big in thin materials will cause tension issues, while using a needle that is too small in heavy material cancause needle breakage and result in machine problems.

acking Hand acks are a clinching nail, meaning that when the point meets the iron, it begins to curl or clinch backinto the leather, becoming tighter and tighter with each blow rom a hammer. Hand tacks are use ul i you aremaking a keeper or part o a harness or saddle. Even a belt keeper can benet rom tacks. Hand tacks can beclinched against a orming iron i a keeper is being installed behind a buckle.

Lacing

Leather may be joined together through the process o Lacing . o lace leather, use a spring punch or a drivepunch to make evenly-spaced holes in the leather. Tere are different measurements or each individual itemto be laced. Holes used to lace stirrup covers, or example, are punched approximately 5/8" apart and 5/8" awayrom the edge o the cover using a #6 spring punch. Te laces themselves or stirrup covers are approximately4" long and 3/8" wide. Regardless o the item, once the holes have been punched and the laces cut to size, youmay thread the leather laces through the holes, binding the leather securely.

Braiding

Tere are a number o ways to Braid leather, but traditional steps to braid anything involve intertwiningthree strands o leather. First, the lef strand is crossed over the center strand, allowing it to become the centerstrand. Next, the right strand is crossed over this new center strand, allowing it to become the center strand.Tis process o moving the lef and right strands over the center strand continues until the braid is a desiredlength or you reach the end.

Gluing

Leather can sometimes be Glued together, rather than sewn to make a continous strap. o do so, rst eatherthe ends o the two leather pieces you wish to connect using a broad point or round kni e. Apply a light buteven coat o common contact cement to both ends o leather. Allow them to dry until they are tacky and thenpress them together. It is necessary to avoid using a lot o the contact cement, as the excess will squeeze outo the spliced leather and make the area around it difficult to color because dyes cannot penetrate the layer ocement. Contact cement can usually be ound at saddlery suppliers, shoe distributers, and craf stores.

Riveting Craf Rivets , sometimes called speedy rivets or jiffy rivets, are rather expensive, but very easy to use.Copper rivets are the most expensive rivets by ar, but the least expensive and perhaps most widely used is the ubularRivet . It can be set with a handheld punch and a hammer just as easily as it can be loaded into an automaticsetting machine or mass production. Most riveting can be done using 3/8" or 7/16" lengths. Available rom4/16" to 10/16", tubular rivets can be set with a steel cap or ancy appearance, though this increases the costi a lot o rivets must be used.


16/24

14 Chapter 8 Advanced echniques and Finishing ouches

C HAPTER E IGHT

Advanced echniques and Finishing ouches

Carving

Te process o carving is not particularly difficult, and it is only limited by your imagination and creativity. Inorder to carve leather effectively, however, one must rst wet it. o do this, leather crafers might use a spraybottle ull o water to mist the leather or they might go through a process known as Casing . More than simplywetting the leather, casing may be one o the most important steps in preparing leather to be tooled, as it isdone to maintain an even moisture saturation that is ideal or tooling.

Once the leather is sufficiently moistened, and lef until sur ace is dry to the touch, you will be able to tracethe pattern onto it using a stylus and then cut into the leather along the lines using a swivel kni e. Go over thelines again with an edging tool, and then use stamps to create depth and texture. You will likely need to go overeverything a second time with the swivel kni e, and then you are ready to begin work on the background. Doso care ully, so as to stay inside o the lines youve drawn. Afer nishing the carving, you will need to allowthe leather to dry out prior to stretching or assembling it so as not to mar the images you have created. o keepleather rom stretching too much when carving, you can apply tape to the backside o the leather.

ooling

Te Swivel Kni e is the ideal tool or creating designs in a piece o leather. Most oral designs are airly basic,especially the squash blossom, which is perhaps the most common o all. It is made rom three basic parts,including the center o the ower, a central main petal, and two side petals. You may nd it pre erable to push

your swivel kni e when creating owers, rather than pull it. o create the stems, it is best to keep them as closeto one another as possible without the two running into one another. Leaves are also rather easy to create, as isthe oak lea acorn design. Lines are best used boldly and simply. oo much detail will ruin the effect o a designrather than enhance it.

Stamping

Stamping is another method o creating or enhancing leather designs. Tere are an innite number o stampsavailable, including decorative cut stamps and backgrounders, as well as letters, numbers, and symbols.Decorative Stamps were designed to assist the leather worker who has trouble maneuvering a swivel kni e.Te curved tools aid in cutting circles and scrolls, while the straight tool may be used or both curved and

straight lines. Backgrounders are used to depress background areas in a design, giving it depth. Tese toolsare held upright and struck rmly with a mallet in order to create the effect. Some o the more prominentbackgrounders include the stippler, the bar grounder, the seed, the hal -seed, and the matting styles. Testippler is used to create the effect o oliage or shadow. Te bar grounder is typically used in smaller spaces,and the impressions should not overlap. Te seed and hal -seed are use ul in larger background areas. Tematting style backgrounders may be used to create many different effects, such as a basket weave, orest depths,and other general backgrounds.


17/24

Chapter 8 Advanced echniques and Finishing ouches 15

Edging and Edge Painting

Edging and edge painting can be done by hand or with a machine. ypical Edgers with angled tips areper ect or edging that is both clean and precise. French Edgers are available to aid in gauging, channeling,

and skiving edges or saddle work and trimming. Leather Slickers are generally used to smooth the edges oleather or a pro essional look. I you want to smooth the edges o a larger quantity o items, you may wantto consider a Power Edge Slicker , a machine that smoothes the edges o your strap goods to a hand-rubbednish quickly and efficiently. Edges may be painted by hand or with the help o a non-motorized or motorizedpiece o equipment. Again, your best choice will generally be dependent on the volume o work you plan onaccomplishing.

Creasing Leather Edges

Like edging, Creasing is yet another possible way to nish an edge. Tere are machines to per orm this job onleather strap goods in a number o widths and thicknesses. Te three basic creases available are the at singleedge, which is the most basic crease, as well as the at double edge, which is reminiscent o the creasers o thepast, and the domed double edge, which is ideal or belts and tack. Double edges allow or sewing inside o onecrease with an additional crease showing.


18/24

16 Chapter 9 Adding Finishes to Your Project

C HAPTER N INE

Adding Finishes to Your Project

Coloring and Dyeing

Finishing your leather is vitally important, as it can make or break the end result o your product. Tere areseveral basic colors to consider or hand tooled leather, including natural, light tan, oil nish, dark brown,black, or antique nish. Tere are assorted elt tipped markers available that easily produce subdued colors.Brighter colors may be added afer dying or by hand-painting or airbrushing enamels. Backgrounds andhighlights are also done by hand or with an airbrush.

Be ore applying a color to your project, test it on a ew samples o leather that are similar to that o yourproject. It is important to realize that no two pieces o leather are the same, so there will certainly be differencesand variations o color, even when using the same products or colors. Dying large spaces requires a largeamount o dye, so be certain to have enough on hand to cover the entire area. Since dyes o the same colormay vary, combine more than one bottle to complete a large project, as this will allow or a consistent colorthroughout.

o spread the dye over a larger area, one might use a dauber, a sprayer, or a brush. When using a Dauber ,begin in the upper lef corner o your project. Moving the dauber in a circular motion, move it quickly alongthe leather, allowing your strokes to overlap. It is important to ll a Sprayer with an adequate amount o dyeprior to use. o apply an even coat, maintain the same distance between the sprayer and the item throughoutthe process, and consider propping the item up against a wall. Begin spraying the project on one side andmove the sprayer back and orth as you move downward on the item. When applying color with a Flat Brush ,

use either horizontal or diagonal strokes. With a Round Brush , move the color around in a circular motion,allowing each stroke to overlap the last. For any o these methods, it will likely be necessary to both buff excessdye rom the sur ace o the leather and also apply subsequent coatings o the color or dye in order to evenlyand adequately cover your product.

Antiquing

Base coat Antiquing gives your product a rich and multi-toned nish, and Fiebings products are the choiceo many pro essionals. o achieve this nish, begin by spraying an even overall base coating o any Fiebingsleather dye onto your product. I pre erred, you may apply shading to urther enhance or emphasize yourdesign. Once your product has dried completely, buff the sur ace to remove any remaining pigment romthe sur ace, then apply a coat o Fiebings Antique Finish. Be ore the Antique Finish dries, remove any excesspigments or nish and buff the leather. Once the dye is completely dry, you may apply a nish to your product.

Dressings and op Finishes

Sealing and protecting your product is an important part o leathercrafing, so choosing the right nish andutilizing the right techniques are the keys to consistent and success ul end products. Consistent quality is thekey to customer satis action and repeat business.

Be ore you apply a top nish to your product, prepare your workspace. It may be benecial to pour the nishout o its bottle and into an extra dish or easier access with your applicators. Clear away all unnecessary


19/24

Chapter 9 Adding Finishes to Your Project 17

supplies, especially those which might contain residual nishes rom other projects, so as not to risk damagingthe current project. Have all applicators, including brushes and sponges, nearby or easier access. Keep papertowels, a lined trash can, and a small dish o water readily available or cleaning and removing excess nish.You will likely need to practice with the nish on a scrap piece o leather in order to avoid ruining or damagingyour product with too much or too little nish.Always read the directions or each nish prior to starting a project. Begin by dipping the end o the applicator usually a sponge into the nish, starting at the top and working your way downward. Apply the nishquickly and reely, making certain to work it into tiny areas as well as larger ones. I the nish you are usingcontains wax, take care not to allow wax to build up in the tooling and carving. You may dip the applicator intothe nish as ofen as necessary, but be certain to spread the nish evenly.

Leather Conditioners and Protectants

Tere are many options to condition and protect leather once your project has been completed. Oils may beused to add or replace oils lost during the leathercrafing process or simply lost with time, use, and weathering.It is best to apply oils to your leather sparingly, allowing them to set, be ore you begin to apply subsequentcoats. Conditioners were developed to replace oils and waxes lost over time through excessive use andweathering. Soaps are available to clean leather when necessary, as keeping your leather products clean willprolong their lives and restore their beauty.


20/24

18 Chapter 10 Your Level o Involvement

C HAPTER T EN

Your Level o Involvement

Te Personal Benets o Leathercrafing

Tough a great deal o in ormation is available or businessmen, perhaps your interest in leathercrafing isthat o a hobbyist and nothing more. Tere is nothing wrong with that. In act, working with leather is anexcellent way to develop certain skills, such as patience and attention to detail. ooling a pattern, especiallyon a smaller scale, may help to develop dexterity and ne motor skills. Drawing patterns or ashioning yourown individual tools can inspire your creativity and develop basic problem-solving skills. Share your interestin leathercrafing with others. Perhaps there is a local youth center or 4-H club where your leathercrafingexperience and knowledge could inspire or even benet others. Leathercrafing o any sort is an excellent way

to challenge yoursel , especially i you attempt a different project each time. What begins as a simple crafproject may one day become a unique handmade gif or conversation piece. Tere is no limit to the possibilitieso leathercrafing, so let your imagination run wild.


21/24

Sources 19

Sources

Guide to Leather. Weaver Leather LLC, Film. 5 Aug 2013.

Burkholder, Allen. Proper Needle and Tread Combinations. Treads N Stitches . 12.4 n. page.Web. 5 Aug. 2013..

Laier, Kay, and ony Laier. Leather Care. Fantastic Finishes: Coloring and Finishing Leatherthe Fiebing Way . 2008: 19. Print.

Laier, Kay, and ony Laier. Leather Dyes: Alcohol, Oil and Water Based. Fantastic Finishes:Coloring and Finishing Leather the Fiebing Way. 2008: 2. Print.

Laier, Kay, and ony Laier. Special Effects: Base Coat Antiquing. Fantastic Finishes:Coloring and Finishing Leather the Fiebing Way . 2008: 10. Print.

Laier, Kay, and ony Laier. op Finishes. Fantastic Finishes: Coloring and Finishing Leather

the Fiebing Way. 2008: 14. Print.Leather Shopper. 2013 Weaver Leather Wholesale Supply Catalog . 2013: 16-19. Print.

Machine, Needle, and Tread Combinations. 2013 Weaver Leather Wholesale Supply Catalog .2013: 292-293. Print.

More Sewing ips. Treads N Stitches . 12.4 n. page. Print. .

Park, Bob. Casing Leather. Leather Crafers and Saddlers Journal. Mar/Apr 2012: 58-59. Print.

Sherer, Dick. Lace-Covered Stirrups. Leather Crafers and Saddlers Journal. Mar/Apr 2012:41-44. Print.

Simonds, John C. Te Leather Crafers Bible . Revised. Columbiana: Sitler the Printer, 2006.1-142. Print.

Stohlman, Al. Crafool ech ip No. 5: Backgrounders. Leather Crafers and Saddlers Journal.Mar/Apr 2010: 56-57. Print.

Stohlman, Al. Crafool ech ip No. 17: Decorative Cut Stamps. Leather Crafers andSaddlers Journal. Mar/Apr 2012: 56-57. Print.

Stutzman, Myron. Te Right Finish Makes All Te Difference in Your Finished Product.Treads N Stitches . 12.1 n. page. Web. 5 Aug. 2013..

Weaver, Jim. Cutting Hides or Minimum Waste. Treads N Stitches . 12.3 n. page. Web. 5Aug. 2013..


22/24

20 Sources

Weaver, Paul. Te Leather Corner. Treads N Stitches . 11.1 n. page. Web. 5 Aug. 2013..

Weaver, Paul. Te Leather Corner. Treads N Stitches . 12.2 n. page. Web. 5Aug. 2013..

Weaver, Paul. Te Marketing Crockpot. Treads N Stitches . 12.1 n. page. Web. 5 Aug. 2013..





Yoder, Lester. Swivel Kni e Finesse. Leather Crafers and Saddlers Journal. Mar/Apr 2012:79. Print.


23/24

O S081913AR


24/24

an insiders guide to leathercrafting

Documents